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Script
Smaller/additional scenes will be grouped and arranged (where possible) in the show according to "feel", to re-inforce the links between the main scenes, or incorporated as a part of characterisation ("Why is our character dreaming this?"). In fact, the theme for smaller scenes should probably be "dreams" or "persona" (naturally there are nonsensical dreams as well, but usually there is at least some goal or worry or...) Introduction ' ' We meet the protagonist, Frank. Who is he in society? What does he see himself as? Well, he is a simple character, someone who can be anyone. Perhaps he is a uni student or businessman who stumbles across the crystal ball while cleaning up or something. He sees himself as being logical and practical/realistic, a typical 21st century thinker who considers himself removed from the bounds of passed-down morals as well as primal instinct. But like everyone else, he is only a result of his past. '' '' The crystal ball puts him a trance, and the scenes that proceed are what he sees/experiences in his dreams – images projected from his subconscious. (In a metaphorical sense, it allows him to “look inside” his own mind.) '' '' Frank is (initially) the rational half of the person; the antagonist, Anti-Frank, the irrational “other side” built upon who we are – our humanness; our upbringing; the result of our memories and experiences. They are identified by half-masks in distinctive colours on opposite sides of the face. '' '' Frank has just woken up for a day of work (or uni). (Perhaps this can happen in a part of the stage that doesn’t get used very often, so the set can stay there.) He does a few routine things, takes out an outfit and puts it on (while attempting to multitask and failing? While in a very big rush? This can be made comedic.) He notices a crystal ball on the floor. (lighting changes to focus on ball?) He investigates the ball. As soon as his hand comes in contact with it, lighting dims to blue/purple mysterious/diffuse lighting over entire stage. Contact juggling/movement routine finishing cross-legged in the middle of the stage. Fade to black. Hallucinations An introduction to the dream-like state. Brightly coloured glowing "sock" poi routine with a lot of people. Initially it is dark, and you can only see spinning objects floating about in the darkness. Start with one pair, then a couple, then a lot more. Lighting slowly turns up. Poi routine starts off quite slow-paced and then increases in intensity. Frank is still sitting in the middle of the stage, frozen and gazing into the crystal ball. Perhaps 3 solo/featured poi performances while everyone is doing simple stuff (with constant beat) in the background. Consider including partner poi. Later characters may chase each other across the stage in crazy and interesting ways. Frank wanders back acting dazed, confused at his surroundings and disoriented/floaty as if he were in a dream. Partner poi into a circle to surround him? All drop at end of scene. Not a Pyramid We meet Anti-Frank, introduced as one’s foundations. “Dawn of civilisation”. The learning and accomplishment of those who have come before us. '' '' Frank comes along, examines these things and asks, “Why?” He has the power to change it, and does so. (“Why not?”) '' '' Yellows, greys and browns. Building materials? Egyptian/Morroccan feel? Anti-Frank directs the building of a human pyramid, and/or evolves it into other, regular and impressive structures (or the other way around). As the finishing touch, he himself completes (i.e. joins) the structure and freezes. Frank enters and examines the final structure. Maybe walk across it a bit. Dive-roll through a few windows. Eventually evolve it into some funny/cool shaped thing that's clearly not a human pyramid, and joins the structure too. Choreo: Tim? history/development/decisions Tall and Short For a long while, you are led. There comes a time when one is no longer led. In the absence of a clear path to follow there are many that lead to disagreement, which often/as a result have no clear resolution. A reflection of external and internal struggles. '' '' Anti-Frank is portrayed as an aristocrat (rules/morals/authority/limitations), trying to dictate what should be/(should not have been) done; Frank is a member of a lower class just trying to get things done. '' '' City/metro feel. A traffic controller stands at a busy intersection. Directs stilts and unicyclists into patterns/stunts, then leaves, throwing his whistle in the air. The whistle is caught by nearest passer-bys, who blow on it (possibly in interesting rhythms) and pass it on. (is this a health risk?) There may be short chases to make it more amusing. An amusing image which may or may not work is 2 unicyclists, one at the back wearing a bike helmet and holding onto the shoulders of the one at the front. One on the front rings a bicycle bell. Maybe then our bike can “crash”, approaching a stiltwalker; the unicyclists separate and continue on either side of the stiltwalker. The stiltwalker (Anti-Frank) and the front unicyclist (Frank) enter an animated disagreement. Anti-Frank has the whistle and demands things of Frank which can’t be met, although Frank attempts to find solutions. They eventually realise that neither can touch the other; stares at each other, and goes off in opposite directions. growth Cinderella Anti-Frank is re-introduced as the instinct of desire, which leads one through precious moments, but does not always end well (or explicably). Frank is left chasing after her, but she is gone. '' '' Frank wanders on stage, wondering where he is. Set...suggest where we are? "Cinderella" (Anti-Frank) approaches from opposite end and takes him by the hand. “Girls” are in ballroom gowns. Lose the puffy skirt and go into a swing dance/acro routine. The clock strikes 12 and Cinderella runs off, unexplained. Frank runs off after her. Choreo: Tom? looking ...And we find a Techie (not so much a scene but an amusing interlude;) Frank runs in again from the opposite side that he just ran off, still looking for Cinderella. Instead, he bumps into a techie. More grab the opportunity to wander in. Use the set/props – create complex rhythms through movement and sensory percussions. Layered rhythms and rhythm play. That's like their response to Frank's questions, but just continue into a performance of their own. Dance or staff with broomsticks or do something cool with a table or chair or something. (vaulting on/climbing under table...turning a table over while someone is underneath, and them climbing over the top? Gymnastics on a table leg? Using the tabletop as a "wall" for kick-over-flip things? Juggling of large objects between many people?) I saw human skipping on Saeed’s link. How about, grabbing Frank by the arms and legs and swinging them like a skipping rope, and have inanimate object as the skipper? Then place him down on the table and juggle knives over him. We can have an amusing announcement regarding the tech crew being on stage and it being interval now. Perhaps give a reason for meeting outside rather than back inside for the next scene(s). Choreo: Who choreographed the tea party scene in Kerros? May be an idea to have them for this one too. Try to have only one main thing going on at once though, because the audience can only look at one thing at one time. INTERVAL There is the potential thought of Tissue outside, rigged to a tree (if there is an appropriate one nearby). Consider making one of the tissue performers “Cinderella”. Savages (outside fire show) We meet the instinct of destruction. Noisy, fiery; a feel of a craze. At the start of the battle, Anti-Frank takes the first swings and Frank only acts in self defence. However, he realises soon that offense is a good defence and before we know it he is equally as savage. But just because you win one battle doesn’t mean you have won much at all... in fact the effect may place you in a worse situation than you started with. '' '' Drumming/percussion begins and gets louder (more people join in). Fire twirlers, fire fleshing/eating.Body paint/tribal theme. Considering adding voice (beats; chant?), stomping, body percussion. When you go out, join the chanters/beat makers. Some people can just be the bearers of fire clubs, and raise them to the beat. Perhaps Frank can become one of these. Fire breathing when intensity increases (to the beat). A solo fire sword performance by the leader of the savages (Anti-Frank). At the end of this, Anti-Frank uses the fire sword to point directly at Frank. There may be dialogue (or monologue) here. Savages standing next to him step away from him; he is alone. One standing nearby takes away his fire club, and one on the other side hands him a fire sword. (The first lights it). Anti-Frank attacks him and he evades, stepping back. Choreographed battle scene (in semi-slow-motion).Frank is about to be defeated when he begins fighting back. Instead of swords actually hitting one another (which would probably damage them) consider having one follow the other, pushing as if there was some sort of force field around them. In a burst of rage, Frank goes for the kill (slashing wildly) and Anti-Frank falls. Frank freezes and drops the sword in front of him and backs away in horror (tech will need to put out the fires). The club bearers surround him, holding their fire upward/diagonally in a circle. "I have become like him" Everything you do, I do too Anti-Frank has in the previous scene just appeared as an enemy... and Frank now realises that he has become one and the same. '' '' Starts off with both characters back to back in sync, each unaware of their shadow/reflection. They then realise the other "shadow" is there - tries to touch it, kick it, do silly things to see if it will follow. (More difficult stuff could maybe be, do-follow-do-follow) Both characters simultaneously try to break through the "mirror" (this can be a part of the set or just imaginary). Now they are able to interact. You can do stuff like leapfrog, assisted flips, partnered rolling while holding onto belts (if they haven't already got a place in the show)... in addition to general clowning and messing around with one's "shadow". Change who is in the lead...etc. At the end of the scene, climb back into their respective positions of the "mirror" and go back to being reflections... finish the same way it starts? free will (or the lack thereof)/continuing the storyline The Masked One Frank finds himself a prisoner and puppet his other half, but one does not know that yet. We do, however, have the clue that it is someone he knows. Also raised is the question of free will; how much power we really have over our actions. '' '' A magician's lair. Frank finds himself trapped in a mime box with a magician (Anti-Frank) who is able to control him like a puppet. Dialogue or voiceover reveals that Frank already knows him. If this voiceover is going to be the only voice in the whole show, consider messing with it (e.g. fade-in/fade-out; echos; coming from everywhere) so that it is a part of the music track. Anti-Frank: in control, knowing but un-revealing, scary (but not in a lame way) Frank: confused, demanding (Example of how scene could be) Magic stuff here. The spotlight is on the magician, the focus is away from Frank who is lying on the floor. After a while, Frank shifts (perhaps; an additional frontal light is turned on so that Frank’s shadow is projected on the backdrop) and gets up, miming a box around him. "Ah. My puppet." Magician pretends to pull a string in front of him, and Frank's hand jerks up violently as if it was tied by the string. Frank panics and tries to pull himself free. Magician jerks a few other strings, and Frank stands on one foot with both hands and a foot suspended in the air. Perhaps make him do a few other silly (acrobatic and/or contortion) things too, before he struggles more and the magician 'relaxes the strings' a little. Frank demands (miming) to know who the magician is. "Who am I, you say? Oh, you already know me." Magician reaffirms his power through controlling a hand again or something, while Frank protests once more. "Free will, you say?"Magician regains complete power over Frank: "There is no such thing." being-taken-over Masks Frank is not in this scene but being a dream/an image from his subconscious... it speaks of his fears (of a psychological takeover). Of course, Frank does not yet know what Anti-Frank is... '' '' Acrobats run/tumble on stage. At the beginning, everyone is in different masks (or, there is only one mask). By the end of the routine, all are wearing the same mask, the mask of Anti-Frank. fear Jugglers But he knows that he is scared of him. He doesn’t want to be taken over too. So he runs away, and Anti-Frank pursues him. The jugglers are just like other people going about their business when the chase starts and runs in and out amongst them. He tries to switch places with someone else, putting someone else in the position of being chased, and for a short time we get the sense that Frank has won/is now free... '' '' Jugglers do normal juggler stuff. Increase in complexity - juggling and pass juggling in many directions. Frank and Anti-Frank enter and play hide and seek or chase each other among jugglers, Frank obviously scared. Could get stuck between 2 (or 3) pass-jugglers, dodge under pass jugglers, attempt to hide directly behind a juggler, crawl between legs of a juggler... Anti-Frank could grab a ball or club, throw it at Frank and he could try to put it back... Frank eventually pushes a juggler out of the way and pretends to be him (continuing to juggle), pushing the original juggler in the path of Anti-Frank. Anti-Frank chases the original juggler out. Jugglers leave until only Frank is left, at ease that he is finally alone. escape Return Frank wakes up, again cross-legged in the middle of the stage where we left him in “Introduction”. Lighting turns up; he is no longer under control of the crystal ball. He returns to he was getting ready for uni/work and continues what he was doing. He pulls out another costume; that of Anti-Frank. (There is some recognition.) The other characters slowly creep in and freeze when lights are down everywhere else. At some point Frank gains the other half of the mask as he realises the other characters are there. They all point at his face, and he realises Frank and Anti-Frank complete himself.